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After the last Night Shift back in January, where Vladimir Jurowski conducted us in music by Mahler and Liszt, our brave man-with-a-cam, Zen, asked the audience: ‘How was it for you?’

Here’s what people said:

Here’s a little video diary from our trip to Paris back in January, when we took a supersized OAE there for a concert of Wagner, Liszt and Mahler with conductor Vladimir Jurowski and mezzo soprano Sarah Connolly. We armed Communications Director William Norris with a video camera, and here are the results:

We’ve had a bit of a backlog of videos here, so these audience vox pops have been somewhat delayed. But they’re here now. After our Symphonic Enlightenment programme of Wagner, Mahler and Liszt at the Royal Festival Hall back on 21 January we asked audience members what they had made of the performance (with conductor Vladimir Jurowski and soloist Sarah Connolly). Here’s what they said:

Back in January before our Mahler/Wagner/Liszt Symphonic Enlightenment concert at the RFH, Robert Philip gave a pre-concert talk discussing what impact the onset of the ‘recording era’ in the early 20th century had in helping us to understand what Mahler’s sound-world might have been like.   Take a listen:

Pre-concert talk: Robert Philip – 21 January 2011 by OAE

Regular readers of this blog or our Facebook Page will know we were due to interview Vladimir Jurowski back in December. Well, that didn’t happen as he wasn’t too well, and about to embark on a big tour. We did however catch up with him last week, when he was with us conducting the Symphonic Enlightenment programme. We’d like to say a big thank you to him for giving up some of his hectic schedule to speak to us – particularly given that a) He still wasn’t 100% well, as evidenced by the tissue clutched in his hand and b) his schedule really is super-packed – he didn’t even have any time off over Christmas!

Anyway, we had a bit of a backlog of videos last week, so this is a little late but hopefully still interesting. Vladimir talks to us about his concerts of Wagner, Mahler and Liszt with us, about how he ‘met’ the OAE and about our late-night Night Shift concerts. The next chance to hear our partnership with him will be this summer – details to be announced. Enjoy – and remember you can still listen to Friday’s concert for a few more days here.

We’re back from Paris and a second performance of our Symphonic Enlightenment programme of Wagner, Mahler and Liszt. First reviews from Friday’s performance are now in too – mainly from bloggers and online. Hopefully the Nationals will follow tomorrow. Thanks so much for the comments posted on our blog, You Tube video and also for the many Tweets we’re had as well. It’s always great to get such instant feedback!

Radio 3 recorded Friday’s concert at the Royal Festival Hall and you can listen to it at 7pm tonight, or online here for 7 days after.

Also coming up on the blog – a video interview with conductor Vladimir Jurowski, a round up of Night Shift news, pictures from Paris and a Parisien tour diary. Plus a parting shot from our intern Ingrid.

MusicOMH

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Tonight we play our Symphonic Enlightenment programme at the Royal Festival Hall - a late romantic programme of Wagner, Mahler and Liszt with 90 players on stage. For us, a huge undertaking. Parts of the programme had their first airing on Wednesday at our (Sold out) Night Shift, but tonight will be the first time that Sarah Connolly joins us to sing Mahler’s Lieder eines fahrenden Gesellen (well, not quite first, we have obviously rehearsed it!).  We caught up with her earlier this week to ask her about the piece:
(Click through to YouTube to watch in HD)

In our latest video ahead of our concerts of Mahler, Wagner and Liszt this week we speak to our Principal Flute, Lis Beznosiuk. She talks about which flutes she is using for the concert, a task made difficult by the quite wide period of time (and hence flute-evolution) that the music spans, and also about why she loves Mahler so much.

Our next Night Shift event is next Wednesday at the Queen Elizabeth Hall, when we’ll be joined by Night Shift regular, conductor Vladimir Jurowski, for a concert of Mahler and Liszt. Support comes from Kitty La Roar and Nick of Time and there’s a DJ set afterwards from Postino. We’ve just released a new podcast ahead of the event and in it we chat to Orchestra leader Maggie Faultless about the music featured, hear from Vladimir Jurowski about his experiences of conducting at The Night Shift, find out how the graphic design and illustration for The Night Shift has evolved and also talk to Natasha, one of our student representatives. You can listen to the podcast below and it will also shortly be available on itunes. Also below is a retrospective of Night Shift flyer designs, to accompany your podcast listening!

Mezzo-soprano Sarah Connolly who sings with us in London and Paris next week, talks to journalist Andrew Mellor about her work with later romantic repertoire such as Mahler and Wagner:

You seem to be moving in a new direction with all this Wagner and Mahler…
Yes – thank goodness I had a lot of superb training at Glyndebourne, which prepared me very well. I didn’t realise I had that dramatic sound in my voice until Vladimir Jurowski offered me a concert performance of Tristan a while ago. He seemed to think I could do it and I appreciated that leap of faith. I had sung Das Lied von der Erde with the Concertgebouw and many other orchestral lieder by Mahler so despite performing Handel’s Giulio Cesare at the same time, Brangäne’s music felt very natural. I will confess though that her extreme outbursts initially made me want to apologize to the rest of the room! I felt slightly uncomfortable with Wagnerian hysteria.

You seemed very suited to the character at your Prom performance with Simon Rattle and the Orchestra of the Age of Enlightenment this summer…
Actually Simon came to that rehearsal of Tristan with the LPO and Vladimir and that’s how the Prom came about. Simon was offering different ways of doing things, giving me more space than I’d been used to. He’s a wonderful accompanist; he invites the orchestra to accompany and never dominates, but at the same time he is also able to take the lead. Read the rest of this entry »

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